(1992) and The Motorcycle Diaries (2004) direct their characters on a path exploration and discovery of their lands and themselves. Through these expeditions they unearth and reveal to the audience their experiences of self-transformation and change. Both films are instigated by the progression of the protagonists’ fundamental relationship with the territory that they traverse. However, regardless of the distinctive narrative significance in both Indochine and The Motorcycle Diaries, the characters